Piero della francesca

Notable Piero della Francesca Paintings

Piero Della Francesca is today considered a key figure in the Early Renaissance, despite having little effect on his contemporaries and knowing little about his early schooling. Della Francesca was interested in mathematics, and his murals and paintings are noted for their superb representation of viewpoint and compositional clarity. Here are some noteworthy Piero della Francesca paintings.

The Nativity (1460). As with the portraits of the Duke and Duchess of Urbino, it is useful to remember that most paintings of this period were not pure images, but formed part either of an interior spatial composition or an object such as an altarpiece; Piero della Francesca, Public domain, via Wikimedia Commons

Техника и композиция картины

Виртуозное использование перспективы (в которой колонна — конструктивная ось композиции), преобладание изящной классической архитектуры, тщательное проработка деталей придают «Бичеванию Христа» статус манифеста. Особенно значимо в композиции использование линий (горизонтальных и вертикальных), мощные диагонали пола и потолка создают крепкое равновесие, символический образ мира. Художник дал фигурам реальный объем с помощью кьяроскуро (переход от света к тени). Также примечательно, что драматические события происходят на крытом дворике с черно-белыми клетчатыми плитками, а трое мужчин на улице стоят на красноватых плитах, которые пронизывают сцену.

Симоне Мартини. «Благовещение» (1333)

Uffizi Gallery / Wikimedia Commons

Средневековые Благовещения редко обходятся без двух атрибутов: цветов, ча­ще всего лилий, стоящих в вазе, и книги, которую читает Мария. Эти образы мы видим и в позднеготическом «Благовещении» итальянского художника Симоне Мартини — к лилии художник добавляет символизирующую мир оливковую ветвь, которую Марии вручает ангел. О том, что Мария умела чи­тать и знала текст Ветхого Завета, еще в IV веке упоминал святой Амвросий Медиоланский. Однако до второй половины IX века эти сведения не слишком впечатляли авторов иконографии, посвященной Марии. Самое раннее изобра­жение читающей Богородицы из тех, что сохранились, относится ко второй половине IX века: это резьба на шкатулке из слоновой кости, вероятно сделан­ной в Меце. Одновременно всего в 120 километрах от нее монах Отфрид Вай­сен­бург­ский пишет стихотворное изложение Евангелия и впервые упоми­нает, что в момент появления Гавриила Мария читала псалмы. С тех пор Мария встречает архангела за чтением все чаще и чаще, и к XIII веку книга становится постоянной деталью западноевропейского Благовещения, а веретено отходит византийской традиции. В том же XIII веке появляется цветок, стоящий между архангелом и Марией. Этот символ напоминал о том, что Благовещение про­изошло весной: «Назарет» в переводе с древнееврейского означает «цветок». Позже он превращается в лилию, символизирующую не только время года, но и чистоту Марии.

Frequently Asked Questions

Who Was the Italian Painter Piero Della Francesca?

Piero della Francesca was instrumental in the growth of Renaissance art in Florence and its critical transmission throughout Italy more than any other Italian 15th-century artist. His art is a blend of Italian art, with its emphasis on proportion and space, and Dutch art, with its emphasis on light. While not particularly well-known in how own time, his works would subsequently become highly renowned.

What Was Piero Della Francesca Known For?

His mathematical genius gave rise to a new painting technique, one that began to physically bring objects into perspective. He was recognized as a geometer in the 1400s, penning papers and documents about volume and form computations, as well as creating mathematical equations used for calculating taxes. We have only recently begun to recognize his enormous contribution to art; with his exceptional background in mathematics, he added a sense of reality to his creations, shifting away from the prevalent gilded backgrounds to add scenery and architectural designs that would give a point of view and depth to his artworks.

Recommended Reading

Today, we have explored Piero della Francesca’s biography and art style. If this article has sparked an interest in the Italian painter in you, then why not consider getting a book about Della Francesca? Here is a list of Piero della Francesca books that you would enjoy.

Piero della Francesca (2013) by Ana Maetzke

Piero della Francesca is often regarded as the central character of 15th-century art, as well as the most contemporary of all Renaissance artists. His peaceful articulations of building and viewpoint, to our post-Cubist eyes, recall other contemporary traditions and artists, such as Giorgio de Chirico. Yet it was Philip Guston, a key exponent of the artist in the 20th century, who most succinctly defined what draws us to him: “A distinct ardor, sober and sensitive, moves in the light of his drawings.  Without our normal passions, he is like a guest to Earth, contemplating distances, gravitation, and important form positions”.

Piero della Francesca and the Invention of the Artist (2021) by Machtelt Brüggen Israëls

Piero della Francesca, one of the most original and enlightened artists of the early Italian Renaissance, introduced space, brilliance, and extraordinary finesse to painting. Furthermore, he invented the function of the contemporary artist by becoming a courtier, a traveler, a geometrician, a patron, and many other things. Machtelt Brüggen Israls reconstructs his coming of age in this detailed portrayal of his life and art. She debunks the prevalent perception of Piero’s art being cryptic, revealing the basic and magnificent purpose underlying his work.

Piero della Francesca’s Legacy

Piero did not leave a lasting legacy in central Italy. Perugino and Luca Signorelli, two of his most notable disciples, are thought to have followed in the footsteps of earlier masters. The reserved nature of Piero della Francesca’s paintings had little impact on the experimentation of his renowned Florentine colleagues, but he was well-known for his scientific achievements.

Because most of his greatest works stayed in the churches and buildings in which they were created, one had to go to view them, and his overall reputation was harmed as a result. With the exception of his students, few Renaissance painters were influenced by Piero della Francesca’s paintings. This misunderstanding of his legacy was only corrected in the mid-19th century when his paintings were researched, admired, and displayed prominently in galleries and museums.

Madonna del Parto (1455) on display in the Museo della Madonna del Parto, Monterchi. Removed from their context in a chapel or palace, the cool rationality and sophisticated palette of della Francesca’s paintings appeared startlingly modern to audiences more used to historical art as predominated by movements such as Romanticism, Rococo, and the Baroque; Sailko, CC BY 3.0, via Wikimedia Commons

By fortuitous coincidence, the rediscovery of his artwork came before the earliest European manifestations of contemporary art. His use of perfect geometry, simplistic shapes, and color blocks, along with the profound sense of peace produced by his works, made him famous among painters from the late 1800s to today. Modern painters were inspired by his mathematically based designs and were drawn in by the ethereal grandeur of Piero della Francesca’s paintings.

Interpretations and Criticisms

Seven of the eight remaining works by Piero della Francesca that are believed to be located in the United States were acquired by the Frick Collection in New York for an exhibition. The artwork, Virgin and Child Enthroned With Four Angels (1470) was singled out by expert Jerry Saltz in a New York magazine article as being the best of the seven Piero della Francesca paintings on display.

You start to understand the epiphany she is experiencing. The flower is seen as a symbol of beauty, affection, and dedication. Additionally, it represents Christ’s coming crown of thorns and his shed blood. This little youngster, who will die a terrible death, reaches out to accept his destiny. Mary doesn’t draw back the flower. Observing her deep-blue robe open to show red below, a sign of impending anguish and outward passion, you detect an inner torment. Christ’s right palm, which will be affixed to the crucifixion, is depicted in the exact vertical center of the picture.

Piero della Francesca’s Mathematical Work

All of Piero della Francesca’s paintings exhibit a keen interest in the theoretical analysis of perspective as well as a meditative approach to art. He had math training when he was younger, most likely for trade.

Much of his work was eventually incorporated into the works of others, most notably Luca Pacioli. His theory on solid geometry was incorporated into Pacioli’s Divina Proportione, which Leonardo da Vinci illustrated. According to the memoirs of his patron, Duke Federico da Montefeltro of Urbino, he was encouraged to pursue his study on perspective.

Page from a Works of Archimedes copied by Piero della Francesca around 1460 (The spirals); Piero della Francesca (1410-1492), Public domain, via Wikimedia Commons

Piero della Francesca’s Art Style

Piero della Francesca was undoubtedly one of the most influential Italian artists of that century. His painting was expansive, colossal, and logical, and it symbolizes one of the early Renaissance’s grandest creative goals. His compositions’ extreme mathematical rigor emphasizes the abstract and iconic characteristics of his works and gives a tremendous religious aura to his masterpieces. To his contemporaries, he was renowned as a geometer, mathematician, and artist, however, he is today most known for his paintings.

The Italian painter’s understanding of Florentine art is enhanced by his knowledge of Flemish art. A triptych by Roger Van der Weyden was on display at the court of Ferrara, where he stayed around 1450. His mathematical aptitude is shown in his paintings by the accurately determined volume of the figures and perfect perspective.

Detail from the Procession of the Queen of Sheba (between 1415 and 1492). Note the subtlety with which the figure at the far right both meets the viewer’s gaze and retains her introspective demeanor. She looks inward and outward in the same moment; Piero della Francesca, Public domain, via Wikimedia Commons

Желтый Христос

Художник: Поль Гоген

Год: 1889

Желтый Христос (1889) — Поль Гоген

Активный в основном в течение 19-го века, Поль Гоген был французским художником, который в настоящее время считается одним из самых важных художников художественного движения пост-импрессионизма, продлившего импрессионизм, отвергая ограничения. Наряду с другой картиной Гогена под названием «Зеленый Христос», эта картина является одним из первых и самых важных произведений символизма в живописи. Желтый Христос показывает распятие Христа, которое происходит в девятнадцатом веке на севере Франции, при этом женщины собрались в молитве. Композиция отличается разнообразной символикой, как и человек, бегущий на заднем плане, отражает желание 19 века убежать от городской суеты и вернуться к «примитивной» и гораздо более простой жизни, которая была раньше. Помимо символики, Желтый Христос является кульминацией «синтетического» стиля Гогена. Он был создан с использованием плоскостей, ярких цветов и жирных очертаний.

Описание картины Андреа Верроккьо «Крещение Христа»

Произведение было написано примерно в 1472–1475 годах. Андреа Верроккьо специализируясь, в первую очередь, на скульптуре, выполнял заказы по живописи с большими перерывами. “Крещение Христа” ему долгое время завершить не удавалось, поэтому он поручил закончить работу одному из своих учеников – так Леонардо да Винчи стал соавтором Верроккьо.

Ангел и две фигуры, занимающие место по центру, были изображены Андреа: в них отслеживается характерная для него сухая манера, жилистость и “пластмассовость” тел. Леонардо написал второго ангела, находящегося левее, при этом использовал масленые краски, а не темпера, как его наставник. Масло сохнет гораздо большее время и ложится плавным слоем, позволяя передать светотени, немного затуманить образы.

Вследствие этого и зародилась общеизвестная леонардовская методика. Он изобразил некоторую часть фона, отталкиваясь от разработанных им ранее зарисовок долины реки Арно. Верроккьо результат более, чем обрадовал и впечатлил: творение юного ученика стала настолько выдающейся, что ее использовали для срисовывания ангелов.

Нужно обратить внимание на то, что произведение отличается цветовой гаммой и разнообразием оттенков: это очень нетипично для картин религиозной тематики. Авторы вкладывают в работу элементы символизма – в этом можно убедиться, рассматривая задний план. Ощущается влияние традиций средневековой живописи

Ощущается влияние традиций средневековой живописи.

Движения персонажей скованны, будто бы они существуют только в двух измерениях. Лица лишены индивидуальности, это говорит о том, что фигура – это больше образ, чем человек. Пейзаж не имеет перспективы, больше напоминая иконопись, чем живопись. На фоне всех остальных героев тело ангела слева выделяется своей естественностью и легкостью.

За счет того, что картина написала двумя великими художниками, сильно отличающимися стилистикой написания, работа выглядит уникально и сильно отличается от аналогичных картин того времени.

Work in mathematics and geometry

Piero’s deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work. In his youth, Piero was trained in mathematics, which most likely was for mercantilism. Three treatises written by Piero have survived to the present day: Trattato d’Abaco (Abacus Treatise), Libellus de Quinque Corporibus Regularibus (Short Book on the Five Regular Solids) and De Prospectiva pingendi (On Perspective in painting). The subjects covered in these writings include arithmetic, algebra, geometry and innovative work in both solid geometry and perspective. Much of Piero’s work was later absorbed into the writing of others, notably Luca Pacioli. Piero’s work on solid geometry was translated in Pacioli’s Divina proportione, a work illustrated by Leonardo da Vinci. Biographers of his patron Federico da Montefeltro of Urbino record that he was encouraged to pursue the interest in perspective which was shared by the Duke.

In the late 1450s, Piero copied and illustrated the following works of Archimedes: On the Sphere and Cylinder, Measurement of a Circle, On Conoids and Spheroids, On Spirals, On the Equilibrium of Planes, The Quadrature of the Parabola, and The Sand Reckoner. The manuscript consists of 82 folio leaves, is held in the collection of the Biblioteca Riccardiana and is a copy of the translation of the Archimedean corpus made by Italian humanist Iacopo da San Cassiano.

How One of Piero della Francesca’s Paintings Survived the War

Although The Last Supper (1498) by Leonardo da Vinci is undoubtedly the most renowned mural that was almost obliterated during World War II, the inhabitants of the Tuscan village of Sansepolcro believe they have another significant art spared during the war. They may thank Tony Clarke, a senior British artillery commander and a great admirer of art, who was meant to destroy the city but resisted orders after reading Aldous Huxley’s opinion that Sansepolcro had the greatest artwork in the world. Huxley was alluding to Piero della Francesca’s famous fresco The Resurrection (1565).

The Resurrection (between 1463 and 1465); Piero della Francesca, Public domain, via Wikimedia Commons

The Italian painter created this mural in approximately 1463 in Sansepolcro’s city hall, which had been held by the Florentines but had lately been reclaimed. The victorious Christ emerging from his tomb after his death, then, might be an allusion to the victory of the town itself, which was titled after the Holy Sepulcher. The existence of the enormous stone in the bottom right-hand corner of the painting supports this since it might be a relic of the sepulcher carried to Sansepolcro by the town’s founders, Egidio and Arcano.

Giorgio Vasari claimed that the soldier in brown armor’s face was actually a self-portrait of the artist himself. Even though there is no way for us to know if this is truly the case Vasari is renowned for not always being correct – his inclusion of this element emphasizes the idea that his human figures are not merely made-up “types”, but possess a spark of uniqueness that makes them feel rooted in real-life observations.